United States
Walking Out, by the Smith twins, is an unrelenting and beautifully shot story of a father and son surviving in the brutal Montana wilderness.
Jay Baruchel steps behind the camera for cult sports comedy sequel Goon: Last Of The Enforcers, and forgets what makes the original special.
Flatliners is a terrible remake of an already bad movie, whose basis is genuinely interesting but the vision poorly conceived.
War Dogs is a hyper-masculine film that, offensively but not surprisingly, uses its main female character simply as a plot device.
Mike Flanagan’s Gerald’s Game, though not quite as dark as its source material, still showcases his talent for immersive horror film-making.
We analyze some of the interpretations of Twin Peaks: The Return, the dreamlike sequel series to David Lynch’s early ’90s TV show.
How might a predominately white community wield its power to dismiss a black life? The documentary Strong Island offers unsettling answers.
Blade Runner 2049 is a blockbuster with brains, heart and an abundance of style, that will certainly reward repeat viewings.
With Saw V, the Saw franchise firmly waved goodbye to logic, with plot contrivances that make the film closer to sci-fi than horror.
While The Lego Ninjago movie is heartwarming and fun, its setting is problematic, and the franchise is becoming painfully formulaic.
Last Flag Flying is an experience that likely won’t stay with you for long, but it is pleasant enough viewing to recommend a watch.
Equal parts funny and realistic, Different Flowers is a wonderful love letter to the Midwest, and the strength of familial love.
Literally, Right Before Aaron is a hugely entertaining romantic comedy which doesn’t shy away from the awkward realities of real life.
Abundant Acreage Available is a simple package of meditation about life and death you will be thinking about long after the film has ended.
Beach Rats may have a lot of superficial similarities with Moonlight, but director Eliza Hittman’s film is a triumph in its own right.